Best known for his eco-installations and performances, the artist earned his art restorer diploma at the Hungarian University of Fine Arts in 2010. As a member of Szentendre’s Forgács Company, he has been featured at numerous exhibitions and festivals. The integrity of nature, and the violation thereof, form the focus of his interest. Many of his wooden sculptures reflect on the irresponsibility with which humans devastate their environment—ultimately, on how humanity destroys itself. By transposing the functions of different materials and instruments, his objects usually rewrite, or at least subvert, deep-rooted clichés, and create new qualities.

The starting thesis of his new project is that humanity’s conviction, according to which the natural environment is an inexhaustible repository of worldly possessions, has been dispelled. By now we can only dream about the former paradisal state of nature. It is also a dreamy fiction that trees can defend themselves from being cut down. The artist gives an active role to one of the trees in Bizottság Park, making use of its substance, wood, to defend its trunk. The saw, whose original function is to bite into wood, now turns its teeth against passers-by. However, anyone who cares to take a closer look at this vision of a giant tool will see that the teeth are rounded off, the soft wood, which is full of vitality, cannot injure humans, while the handle is made of metal, whose unpleasant coldness is uninviting to the touch. The giant saw is unfit for the purpose, and cannot move: its material is its own prison, because it surrounds the tree—but also protects it in the act.